Binding Repairs for Special Collections at the
Harry Ransom Humanities Research Center

Olivia Primanis

An earilier version of this paper served as the basis for a talk
given at the tenth ABRACOR Congress, the biennial meeting of the
Brazilian Association of Conservators-Restorers of Cultural Assets,
held in São Paulo, Brazil, November 6-10, 2000. Received for
publication Fall 2000.

Abstract

Book conservators at the Harry Ransom Humanities Research Center,
University of Texas at Austin, have adapted and developed techniques
for the quick repair of deteriorated and damaged books. Many factors
influence the decision to merely reinforce weak sewing structures or
reattach original covers to their text blocks, rather than to
undertake more extensive treatments. This paper will discuss how the
institutional culture and the needs of researchers visiting the
Ransom Center, combined with emerging information in the field of
conservation, support this type of treatment. The most frequently
used repair techniques will be described.

Introduction

The Ransom Center is a special collections research library at
the University of Texas at Austin. Since its establishment as an
institution in 1957, the Center has built a collection with a focus
on nineteenth- and twentieth-century literature, which includes
extensive holdings of author's manuscripts, photographs, theater
costumes, and works of art on paper, in addition to books. Because
most of the materials are rare or unique, the stacks are closed to
patrons and the books do not circulate outside of the building.

A conservation department was founded in 1980 to aid in the care
of the collections. In addition to performing single-item
conservation treatments and constructing a wide range of housings,
the department also carries out a variety of preservation policies.
Conservators monitor the temperature and humidity levels in the
building, using both hygrothermographs and data loggers. We evaluate
and prepare materials for in-house exhibitions and loans. The
department monitors the building for insects and inspects all
incoming collections to prevent mold and insects from entering the
building. When an insect infestation is found, the materials usually
are frozen to eradicate the insects. Moldy items are isolated from
the collections, and before patrons handle the materials, the mold
is removed with a vacuum aspirator. The conservators offer
presentations for new staff members and students in the careful
handling of the artifacts. They also work with other departments to
formulate policies that balance the researchers' access to materials
with the continued preservation of the artifact.

In addition to the work done by the conservation department,
staff from other departments throughout the Ransom Center are also
involved in various preservation activities. They make simple
housings such as polyester jackets for books and place manuscript
materials in folders, archival boxes, or other housings. The reading
room supervisor trains student pages to safely retrieve materials
from the stacks and, when orienting new patrons to the library,
educates them in the safe handling of objects. The conservation
department has developed an annual Preservation and Conservation
Priority Process that permits staff to participate in the process of
selecting items to be treated. All members of the staff are invited
to submit information about collection items that they feel need
conservation. Conservators examine these materials and evaluate
their condition. Then an administrative committee approves the list
of items that the chief conservator selects for the conservation
department to treat each year.

The Ransom Center could be called a collection of collections.
Many of its holdings were acquired as distinct collections from
authors and collectors. The Center has also obtained the complete
contents of a couple of bookshops. In some cases the Ransom Center
has not dispersed these discrete collections; instead, many of the
collections have been kept intact and shelved together. Because many
of the materials were chosen by a collector who cared for them or
were gathered or produced by an author, most of the items, although
by no means all, are deteriorated as a result of a natural aging
process rather than by poor storage or handling. Of greater
significance is that many of the artifacts, especially those dating
to the nineteenth and twentieth centuries, remain in the state in
which they were originally issued: for example, many
twentieth-century imprints are in original paper wrappers.

Due to the nature of the collections, researchers come to the
Ransom Center not only to study the information content of the books
and manuscripts, but also to study their physical characteristics.
They search for clues about an author's intent, for instance, by
examining the inks that James Joyce, his editor, and the printer
used to make corrections in the page proofs of Ulysses.
Or, a researcher might compare known binding materials and styles to
determine whether or not a book once belonged to the great
nineteenth-century British collector Sir Thomas Phillips.

In order to safeguard the sort of physical information that is
intrinsic to these types of collection materials, our approach to
conservation treatments is usually quite conservative. The
administration and curators have balanced, particularly since the
1980s, the preservation of artifacts in their original state with
conservation treatments that are needed to permit the Center's
patrons to safely handle the materials. The benefit of conservative
treatments to these authors' manuscripts is obvious: it allows
unique qualities to be retained. I find it interesting that by the
1990s the conservative approach toward manuscripts had already
influenced a similar conservative approach toward the treatment of
books at the Ransom Center. Yet, since I came to work at the Ransom
Center in 1990, conservation treatments have become even more
restrained. Input from bibliographers, research in the material
sciences, and the development of new conservation treatment
techniques have all contributed to this change in our attitude and
our methods.

A variety of approaches toward the preservation of bibliographic
information prevailed during the last century. Many approaches are
reflected in bindings that pass through our book conservation lab.
Collectors and binders in England and the United States have
preserved bibliographic information of some bindings with expert or
even rough repairs. Other collectors employed binders such as
Riviere in England who washed and bleached text blocks and rebound
books to provide a product that pleased the fashions of the times.
My recollection is that during the 1970s book conservators working
in libraries in the United States began to realize that their
treatments might obscure or destroy the bibliographic information
found in books. At that time prevalent conservation binding
practices rejected traditional restoration techniques. Conservators
focused on treatments that would improve the condition and longevity
of the information content of a book. Acidic and discolored text
blocks were given aqueous deacidification and buffering treatments
as a matter of course. Books were rebound with a new structure, not
only if they were severely damaged, but simply to protect the text
block with higher quality materials, or so that the book would open
more easily. The appearance of books was modified with fills and
in-painting and by cleaning and application of leather dressing to
reduce signs of wear.

Although we still perform the same types of treatments used in
the 1970s and 1980s, we employ many of the techniques only for books
that are severely deteriorated and damaged. A growing body of
research in the field of conservation that describes the manufacture
of materials used for bindings and records binding structures gives
us a stronger historical perspective and appreciation of the
artifact. At the Ransom Center today a conservator relies even more
on the bibliographic scholarship of the curator to identify the
special characteristics and qualities of a book, as a curator relies
on a conservator to provide treatment options that will retain this
information and stabilize the artifact for use.

A bibliographer, David McKitterick, describes the changing
interests of bibliographers and the resultant demands placed on book
conservators.

... the bibliographer's perception of his or her task has changed
over the last two centuries or so. It may now be said to encompass
the listing of books; the description of books' structure and
manufacture, and of their current physical appearance; the
relationship of technical description such as this ... to textual
matters; and the investigation of the reception, circulation, and
reading of books.... This change in emphasis has deeply affected our
attitude to conservation.... What once was washed off leaves as
being unsightly or irrelevant, what was once removed in wholesale
rebinding, is now valued as much as the printed or written words of
the text.... (McKitterick 1994, 23)

Research in the material sciences about the qualities of various
materials used in conservation and procedures for the chemical
treatment of artifacts influences the type of treatments we
undertake. Due to the observation of occasional ill affects on
artifacts after certain types of treatments, we have greatly reduced
the number of books that are given chemical treatments. In choosing
a treatment technique, a repair material, or a housing for a book,
we balance the knowledge learned through hands-on experience with
information gained from scientific studies, such as those on
alkalinization treatments and the stability of adhesives and papers.

Time constraints have also affected our choice of treatments.
John Kirkpatrick, curator of modern literature at the Ransom Center,
has observed that the types of treatments have changed over the past
twenty years with the practical realization by conservators and
curators of the enormous number of artifacts that needed
attention.1 The collection continues
to grow and each artifact simply cannot be given the most extensive
treatments available. Preservation activities, for which Ransom
Center conservators are responsible, also place demands on our time.
Less extensive treatments are less time-consuming and allow us to
treat more of the collection.

Our aesthetic appreciation of books has been changed by the
repair techniques that we adopted during the last decade. This
change is most surprising to us. In the past we were always inclined
to camouflage visible, nonstructural damage, such as the visibility
of text paper in a broken joint. Now we appreciate the deterioration
for what it can tell us about the history of the materials and that
we have not obscured information that might be of value to a
researcher.

In the late1980s the development of repair techniques that are
less invasive to the books than treatments such as rebinding made it
possible to address the input from bibliographers more fully and to
preserve much more of the original artifact. These repairs can be
made so that they do not obscure original structural components such
as the sewing stations, the text-to-cover attachment, and the
impression of the gold tooling on the spine of the book. The
completed repairs are discernible but not distracting. Some of the
basic techniques that we use at the Ransom Center include joint
tacketing, developed by Tony Cains; Japanese paper hinges, developed
by Don Etherington (19952); a linen
hinge board reattachment technique developed by David Brock, 3 and the techniques of Bernard Middleton
(1972). Nicholas Pickwoad (1994a; 1994b), a strong advocate for the
repair rather than the rebinding of books, has also given valuable
input on this topic.

The techniques that we use are a blend of traditional and new
techniques. We use them to reinforce the components of the sewing
structure and to reattach covers to the text block. Approaching
treatments with the intent to repair the original materials
encourages inventiveness. We appreciate the flexibility of these
techniques and often combine them, modifying our approach to fit the
needs of an individual book. The techniques are simple. Expertise,
though, is required when determining which repair to use, and in
assessing the condition of the materials. If, for example, the text
paper is too deteriorated, the repairs will not work. Some of the
methods that I will describe can be found in published articles that
were noted above. So, rather than explain them in great depth, I
have only included information about the techniques that we keep
foremost in our thoughts as we work. Before I discuss the
techniques, I will explain how we evaluate the materials and
structures as we prepare for a treatment.

Evaluating Materials and Treatment Options

The Text Block

First we examine the text block. We determine the mechanical
qualities of the paper using a "fold endurance test." We bend a
corner of the leaf gently to determine its level of brittleness
rather than making a complete fold. Many of the materials at the
Ransom Center date from the nineteenth and twentieth centuries. The
paper is brittle, and often a complete fold would result in a broken
corner. We do not measure the pH of the paper unless we are
considering aqueous treatment of the text.

If the text paper is brittle we generally do not repair the
binding structure. We sometimes wash and alkalize brittle text
blocks. Brittle leaves are left in their covers, unbound; usually a
portfolio is made for them. To maintain a bound format, when the
leaves are too brittle for any handling, the leaves are encapsulated
in polyester and given a post binding.

Mends to the text block paper are made using lightweight Japanese
papers or other lightweight repair papers. We are careful not to
cause stiffness, or to change the drape of the leaf by mending with
paper that is too thick or by using too much paste. The combination
of a well-adhered mend that is still as flexible as the text paper
is sometimes difficult to obtain. If a very dilute paste is used to
apply the mend, often the repair paper will come loose when the
leaves of the text are flexed. Our goal is to make a mend that would
tear or give way before the original material. If an overly sturdy
paper and thick paste is chosen to mend a page, the deteriorated
page will most certainly tear before the mending paper if the item
is handled roughly.

The Sewing Structure

We determine the strength of sewing threads by gently tugging on
the threads in three or four of the gatherings. We avoid breaking
threads as we perform this test. If the sewing, spine adhesive, and
linings are intact we do not remove the linings even if the
materials are in poor condition.

If the sewing thread is weak but still performing its function,
and we have to apply new spine linings, we sometimes remove the
original adhesive. When applying a poultice such as methyl cellulose
to remove the adhesive, we keep the sewing supports dry, so that
they are not weakened or broken by contact with water. Depending on
the size and weight of the book, we apply an appropriate number of
Japanese paper and cotton or linen cloth linings. The Japanese paper
is adhered with wheat starch paste and the subsequent linen or
cotton cloth linings with either paste or a synthetic adhesive, such
as Jade 403.4

If the text block is split due to a break in the sewing supports,
or if a few gatherings are loose, we adhere a new lining and sew the
gatherings to the new cloth lining. We sew through the loose
gathering and through a few additional gatherings on either side of
the break in the sewing or the loose gatherings.

Leather Covering Materials

Chris Calnan of the National Trust, United Kingdom, presented an
array of tests that can be used to characterize the condition of
leather during a workshop that he gave at the Ransom Center.5 These tests were developed through the Step
Leather Project (Larsen et al. 1994, 17). One test gives practical
information about the level of deterioration in a given leather
sample. Four or five samples of leather fibers, ranging from new
leather to extremely deteriorated leather, were chosen to serve as
standards for comparison. The fibers taken from a new leather sample
are thick and long. The fibers in the older and most weakened sample
are very short, narrow, and powdery, and are easy to tease from the
sample. When a leather-bound book is received for treatment, the
conservator uses a pin to tease a few fibers from the book to
compare with the leather samples. When obtaining the fibers from the
cover, the ease or difficulty with which the fiber bundles detach
from the leather helps to indicate the level of deterioration. If
the fibers are easy to tease from the book, it indicates that they
are deteriorating. Comparison of these fibers with the samples helps
us approximate the degree of deterioration. This procedure is
helpful when determining if a leather cover should be treated with a
consolidant; evaluating the level of deterioration in a leather
binding when the joints are damaged but not yet detached; and
ascertaining if moisture levels of adhesive should be reduced to
avoid further damage to severely deteriorated leathers.

At the Ransom Center, Klucel G is used to consolidate
deteriorated leather. The Klucel G is prepared as a 1-2% solution in
ethanol or isopropyl alcohol and must be dilute enough to penetrate
into the leather. (Klucel G mixed with isopropyl alcohol may stain
less.6) To make the choice between
Klucel G prepared with ethanol or isopropanol, we test the leather
in a discreet area, such as a turn-in, to see how the consolidants
and solvents affect the leather. If there is darkening, varying the
concentration and amount of solution applied often reduces the
discoloration. After consolidation, the leather is tested for
cohesiveness by gently prodding at the exposed edges of the leather
and by rubbing the surface of the leather with a fairly smooth paper
to see if leather dust is still easily dislodged. We often apply
Klucel G repeatedly to consolidate severely deteriorated leather. In
the case of severe deterioration of an entire leather or suede
cover, we have applied Klucel G with an airbrush. The Klucel G
solution is diluted until it can pass through the airbrush. When we
use this technique, several applications are necessary.

Repair Techniques

Japanese Paper Hinges

A Japanese paper hinge is used to reattach loose or detached
covers. The hinge extends over the joint, from the spine of the book
to the cover. Another Japanese paper hinge is adhered to the inside
joint of the book as well. This technique is most suited for text
blocks of small, lightweight books with stable sewing structures,
leather that is in good condition, and for which only the covers
need to be reattached. The hinges can be adhered with wheat starch
paste, a synthetic adhesive (such as Jade 403 or Lascaux 360), or a
mix of the two. The hinges are often colored with acrylics to blend
with the color of the book cover.

Japanese paper hinges must withstand the repeated stress of
flexing as the book cover is opened and closed. If the leather is in
poor condition, we make the hinges wide enough to be adhered farther
onto the cover in an area where the leather is less deteriorated
than at the joint. Secure hinges often overlap one-fourth to
one-half inch onto the covers, and in some cases we have had to
partially cover decorative tooling and titling on the spine. Hinges
that have turn-ins are less likely to detach after repeated flexing.
We make the hinges wider at the turn-ins, because joints are
generally wider at the head and tail due to back cornering of the
board and loss of leather from the endcap.

To accurately anticipate the exact size and shape of a hinge, we
draw a template that is the exact shape of the Japanese paper hinge.
The outline is drawn on (2-mil) polyester film that is placed over
the joint. We use a felt tipped pen that will not create an
impression in the book cover and that will write on polyester. The
polyester template is used as the guide to cut the Japanese paper.

Hinges made from heavier weight Japanese paper or hinges that
have a thick application of acrylic paints or adhesive can be stiff.
When adhered to weak, deteriorated leather these inflexible hinges
are more likely to detach by pulling away the upper surface of
weakened or deteriorated cover leather. Before adhering a Japanese
paper hinge to the cover, we examine the condition and surface
finish of the leather. If the leather is deteriorated, we apply a
consolidant (as described above) to provide a coherent surface for
adhering the Japanese paper hinge. Finishes or coatings on the
leather may prevent absorption of the adhesive. We use enough
adhesive to make a strong bond between the leather and the Japanese
paper. If we see that the paste does not penetrate the leather
surface, we try a synthetic adhesive.

Joint Tackets

Fig. 1. Joint tackets

Detached cover boards can be reconnected to the text block by
looping thread through small holes that are pierced in the cover and
through the shoulder of a text block. This technique, called joint
tacketing (fig. 1), has been well described by Espinosa and Barrios
in their article "Joint Tacketing: A Method of Board Reattachment"
(1991). The following information details some minor alterations of
the tacketing procedures found in the article. In addition, some
solutions to technical problems that we have encountered when using
tackets are given.

We place tackets away from the original sewing stations of the
text block and original slips that are adhered or laced into the
covering board. This avoids damaging or obscuring extant sewing. Two
to five tackets are used for small volumes and more are used for
larger, heavier volumes. If even spacing of the tackets might
obscure an original structural component of the book, the tacket is
moved or omitted at this location.

The tacket holes are pierced directly through the shoulder and
spine of a tight-back leather-bound book. For a hollow-back book,
the hollow spine is released on one side at the joint. The tacket is
made through the text block spine and the spine covering is
reattached with a hinge. Consolidation of deteriorated spine leather
before piercing, and holding a paper board against the spine while
piercing, can reduce the small loss of leather that can occur on the
spine of a tight back book.

We pierce holes with a sturdy sewing needle that has been
shortened and inserted in an aluminum sewing needle handle. This
ensures a small, evenly sized hole. (When using an awl, the hole can
end up larger than necessary.)

Holes are made in the text block at the base of the shoulder. If
the shoulder is small or ambiguous, the hole is placed so that the
tacket thread will loop around a sufficient amount of the shoulder
but not so far onto the text block that the leaves of the text block
slide on the tacket thread as the pages are turned. To protect the
leaves from being dented by the handle of the needle while piercing
the holes, a piece of card stock can be placed over the text block.

For each tacket a single entry hole is made in the cover at the
spine edge of the board. From the single entry hole two exit holes
are made three-eighths to one-half inch in from the spine edge of
the board, through the pastedown. There should be a distance of
approximately three-eighths to one-half inch between the two exit
holes on the face of the board, otherwise the board can tear between
the two exit holes.

Depending on the size of the book, we use 35/3-cord or 25/3-cord
unbleached linen thread for the tackets. We use a thin thread for
the tacket assuming that if force is exerted on the cover, the weak
threads will break before cutting through the text block or cover of
the book. A small thread makes the mend less visible, but if the
thread is too strong and thin, it could cut through the board or
shoulder. For this reason, we use linen rather than polyester
thread. The tacket threads that are visible on the spine and the
board edge can be made less noticeable by coloring with media such
as acrylic paints.

After knotting the tacket thread, we fray out the tails of the
threads and bone the knot down on the pastedown. The tacket
reattaches the board to the text block and the addition of a
Japanese paper guard at the inner endpaper hinge secures the board
in place head to tail. By preventing the board from moving up and
down against the tacket, stress on the tackets and cover materials
is reduced. We also cover the exit holes and tackets knots by
adhering small pieces of Japanese paper over them or by using a
wider hinge a the joint. Depending on the size of the book, we use
various weights of Japanese paper such as kizukishi, sekishu
kozogami mare, or okawara for the guards.

Japanese paper guards that are cut wide enough to cover a portion
of the pastedown and that extend approximately one-eighth inch past
the crease of the shoulder onto the flyleaf will not detach when the
leaves are turned. The guard can be colored with acrylic paints to
blend with endpapers.

Specific information on the original text-to-cover attachment and
the makeup of the first and last few gatherings is noted in the
treatment report. If such information is not visible or accessible,
this is also recorded.

New Slips

Fig. 2. New slips

We also reattach text blocks to their cover by attaching new
slips (fig. 2) to the sewing supports.7 We make the new slips by looping lengths of
thread through the folds of a few gatherings. We pierce holes
through the back of the text block from the inner fold of the
gathering, on either side of a sewing support. A single piece of
thread is passed through the holes from the outside of the spine to
the inside of the gathering forming a U around the sewing support.
In the fold of the gathering, we cross the thread-tails over each
other and pull each thread through the other hole. This forms a loop
around the sewing support with two lengths of thread (or new slips)
on the outside of the spine. Depending on the thickness of the
spine, thread is added in two to three gatherings, resulting in a
new slip made of four to six threads. Thread is also added to the
end gathering, and this thread is wrapped around the new thread
slips on the outside of the spine and knotted on the inside of the
end gathering. This loop of thread holds the new slips in place and
causes the board to open at the joint rather than opening where the
threads emerge on the spine.

The new slips can be connected to the text block in the same
manner as tackets; they can be adhered to the board underneath the
pastedown; or, they can be threaded through extant lacing-in
channels. To minimize vertical movement of the board, a Japanese
paper hinge is adhered to the inner joint.

The number of slips that we add to a book depends on how many of
the sewing stations are broken and the weight of the book and
covers. In general, we do not make new slips at every sewing
station. For instance, in order to reinforce the text to cover
attachment of a heavy antiphonary with wooden boards, we made one
new slip to replace the one that had broken.

Cloth Hinges with Split Flanges

Fig. 3. Cloth hinge

We sometimes reattach covers to a text block with small cloth
hinges. They are adhered to the back of the text block under the
covering material at the head and the tail of the book (fig. 3). The
cloth hinges pass from the spine and are adhered underneath the
outside cover and underneath the pastedown. The small portion of the
cloth flange that extends from the shoulder is cut in half, across
the height. The end of the cloth flange closest to the head or tail
of the book is adhered under the leather on the cover; the inner
portion of the flange is adhered under the pastedown. If only one
cover is detached and if the back of the book is narrow, we attach
hinges, as small as one-quarter to one-half inch wide, to the spine
of the cover. Only small areas of the spine, board coverings, and
pastedowns need to be lifted to accommodate this type of cloth
hinge. David Brock, whether reconnecting one or both covers to a
text block, adheres the linen lining across the entire spine.8

Summary

It is evident to all those who handle books that an old book,
even when repaired, is more fragile than a book that has been
rebound using new materials. Consequently, the manner in which
collection materials are stored and handled by both patrons and
staff strongly influences the type of treatment that a conservator
feels confident to choose for a deteriorated book. Due to the
widespread acceptance of preservation principles throughout the
Ransom Center, books with fragile bindings are used without being
damaged. By using these types of restrained but quick and effective
repairs, rather than extensive and time-consuming treatments,
conservators make more materials available for patron use.

Acknowledgments

This paper reflects thoughts from ongoing dialogues with Ransom
Center colleagues: Richard Oram, Librarian; John Kirkpatrick,
Curator of Modern British and American Manuscripts; Roy Flukinger,
Senior Curator of Photography; in addition to thoughts and
techniques developed by Conservation Department book conservators,
Mary Baughman and Pat Ingram. I wish to especially thank Mary
Baughman and Jim Stroud, Head of Conservation at the Ransom Center,
and Tom Conroy, book conservator in Berkeley, California, for their
ideas and editing.

Notes

1. John Kirkpatrick discussed
this idea during a conversation with the author on October 13, 2000.

2. Don Etherington has
described this repair at various conferences. In-house directions
titled "Minimal Intervention for Preservation of 19th and 20th
Century Collections" are available on request by contacting
Etherington Conservation in Greensboro, North Carolina (email:
<ecc@icibinding.com>) or in the article, "Japanese Paper Hinge
Repair for Loose Boards on Leather Books" (Etherington 1995).

3. David Brock, rare book
conservator at Stanford University Library, explained this method of
reattaching book covers that he had developed during an Austin Book
Workers meeting on April 22, 1999, and in the article "Board
Reattachment" (Brock 2001).

4. Gary Frost has often
discussed this technique of consolidating the backs of books. When
queried by email, on October 19, 2000, about a published
description, he commented that there is nothing "published on pasted
and brush stippled kozo lining on the text back. I got the idea from
the Freer film "Art of the Hyogushi."

5. Maria Fredericks (1997)
summarized the proceedings of the workshop.

6. In an email dating to June
4, 1997, Chris Calnan explained that "Ethanol is a stronger polar
solvent than isopropanol and will exert a greater effect on soluble
tannin fractions. With highly deteriorated leather the use of
ethanol may bring about staining as soluble tan material is leached
out and deposited at the surface as the ethanol evaporates off."

8. In an email dating to
January 22, 2001, David Brock commented: "I've always lifted the
whole spine, shoulder to shoulder, and used a linen lining that runs
across the whole spine. I'm not sure adhering one-quarter to
one-half an inch on the spine is strong enough. I would worry that
in use the board would pull the linen off the spine, taking the
covering leather with it."

McKitterick, David. 1994. Evidence in the
printed book and the avoidance of damage; a bibliographer's
viewpoint. In Conservation and preservation in small
libraries, ed. Nicholas Hadgraft and Katherine Swift.
Cambridge: Parker Library Publications/Corpus Christi College.
23-28.

Pickwoad, Nicholas. 1994a. Distinguishing
between the good and bad repair of books. In Conservation and
preservation in small libraries, ed. Nicholas Hadgraft and
Katherine Swift. Cambridge: Parker Library Publications/Corpus
Christi College.142-150.